Xenochrony is a studio-based musical technique developed at an unknown date, but possibly as early as the early 1960s, by Frank Zappa, who used it on several albums. Xenochrony is executed by extracting a guitar solo or other musical part from its original context and placing it into a completely different song, in order to create an unexpected but pleasing effect, he said that this was the only way to achieve some rhythms.

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One of the most prominent examples of xenochrony can be found on Zappa's rock opera Joe's Garage (1979), on which the guitar solos are all xenochronous (with the exceptions of "Watermelon In Easter Hay" and "Crew Slut").

In the words of Zappa himself:

A classic "Xenochrony" piece would be "Rubber Shirt", which is a song on the Sheik Yerbouti album, it takes a drum set part that was added to a song at one tempo. The drummer was instructed to play along with this one particular thing in a certain time signature, eleven-four, and that drum set part was extracted like a little piece of DNA from that master tape and put over here into this little cubicle. And then the bass part, which was designed to play along with another song at another speed, another rate in another time signature, four-four, that was removed from that master tape and put over here, and then the two were sandwiched together. And so the musical result is the result of two musicians, who were never in the same room at the same time, playing at two different rates in two different moods for two different purposes, when blended together, yielding a third result which is musical and synchronizes in a strange way. That's Xenochrony. And I've done that on a number of tracks.[1]

Xenochrony can be heard as early on in Zappa's career as 1967: on The Mothers of Invention's We're Only in It for the Money, the rhythm track from the chorus line of "How Could I Be Such A Fool" on Freak Out! (which consists of the drums, bass, vibraphone and orchestra) is used on the ending of "Lonely Little Girl." This is noticeable when listening to the backing tracks without vocals, which appear on the posthumous box set releases The MOFO Project/Object and Lumpy Money. On Uncle Meat, a phrase from the guitar solo of "Nine Types of Industrial Pollution" appears later on at the end of "Sleeping in a Jar". Several earlier possible examples of xenochrony can be heard on Lumpy Gravy, Zappa's first solo album. A passage from "Harry, You're a Beast" may or may not be incorporated in "Almost Chinese": a harpsichord/xylophone sounding instruments plus several "snorks" can be heard directly after Larry's dialogue with Motorhead Sherwood. Also, the sound effect that begins "Flower Punk" from We're Only in It for the Money, released months earlier, is played at approximately 0:19 of Part 2, 15:19 or 15:20 of the record. Excerpts from "The World's Greatest Sinner" soundtrack, composed by Zappa, are audible on both "I Don't Know If I can Go Through This Again" (from Lumpy Gravy) and "Mother People" (from We're Only in It for the Money).

Simon & Garfunkel also used this technique on their 1968 Bookends album. The second track on the album, "Save the Life of My Child." uses the first few seconds of "The Sound Of Silence" (released on their 1966 Sounds of Silence album) around the 1:20 mark in a slowed-down fashion. It consequently is switched from its mother key and subsequently sounds weird and interesting at the same time.

The technique was used by Dream Theater at the beginning of the song "The Dance of Eternity", where samples from their earlier song "Metropolis Pt. 1" briefly fade in and out against a slower drum and bass beat.

1.
Frank Zappa
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Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse rock musicians of his generation, as a self-taught composer and performer, Zappas diverse musical influences led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical composers such as Edgard Varèse, Igor Stravinsky and he began writing classical music in high school, while at the same time playing drums in rhythm and blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach, irrespective of whether the format was rock. Zappas output is unified by a conceptual continuity he termed Project/Object, with musical phrases, ideas. His lyrics reflected his views of established social and political processes, structures and movements. Unlike many other musicians of his era, he personally disapproved of and seldom used drugs. During Zappas lifetime, he was a productive and prolific artist, earning widespread acclaim from critics. He had some success, particularly in Europe, and worked as an independent artist for most of his career. He remains an influence on musicians and composers. His honors include an induction into the 1995 Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the 100 Greatest Artists of All Time, Zappa was born in Baltimore, Maryland. His mother, Rosemarie was of Italian and French ancestry, his father, whose name was Anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents, the family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the returned to Maryland. Due to their homes proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident and this had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work. Zappa was often sick as a child, suffering from asthma, earaches, a doctor treated his sinusitis by inserting a pellet of radium into each of Zappas nostrils

2.
Rhythm
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Rhythm generally means a movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions. In the performance arts, rhythm is the timing of events on a scale, of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language. In some performing arts, such as hip hop music, the delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as timed movement through space, in recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, Godfried Toussaint, William Rothstein, and Joel Lester. In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of thought expressed through the measure or movement in sound or form, or by written signs or words. In his television series How Music Works, Howard Goodall presents theories that human rhythm recalls the regularity with which we walk, other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that certain features of human music are widespread. The perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, Joseph Jordania recently suggested that the sense of rhythm was developed in the early stages of hominid evolution by the forces of natural selection. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, some types of parrots can know rhythm. There is not a report of an animal being trained to tap, peck. For this reason, the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm, Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneous rhythms in more than one time signature, called polymeter. Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of the gamelan, for information on rhythm in Indian music see Tala. For other Asian approaches to rhythm see Rhythm in Persian music, Rhythm in Arabian music and Usul—Rhythm in Turkish music and this consists of a series of identical yet distinct periodic short-duration stimuli perceived as points in time. It is currently most often designated as a crotchet or quarter note in western notation, faster levels are division levels, and slower levels are multiple levels. Rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. A rhythmic gesture is any pattern that, in contrast to the rhythmic unit

3.
Greek language
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Greek is an independent branch of the Indo-European family of languages, native to Greece and other parts of the Eastern Mediterranean. It has the longest documented history of any living language, spanning 34 centuries of written records and its writing system has been the Greek alphabet for the major part of its history, other systems, such as Linear B and the Cypriot syllabary, were used previously. The alphabet arose from the Phoenician script and was in turn the basis of the Latin, Cyrillic, Armenian, Coptic, Gothic and many other writing systems. Together with the Latin texts and traditions of the Roman world, during antiquity, Greek was a widely spoken lingua franca in the Mediterranean world and many places beyond. It would eventually become the official parlance of the Byzantine Empire, the language is spoken by at least 13.2 million people today in Greece, Cyprus, Italy, Albania, Turkey, and the Greek diaspora. Greek roots are used to coin new words for other languages, Greek. Greek has been spoken in the Balkan peninsula since around the 3rd millennium BC, the earliest written evidence is a Linear B clay tablet found in Messenia that dates to between 1450 and 1350 BC, making Greek the worlds oldest recorded living language. Among the Indo-European languages, its date of earliest written attestation is matched only by the now extinct Anatolian languages, the Greek language is conventionally divided into the following periods, Proto-Greek, the unrecorded but assumed last ancestor of all known varieties of Greek. The unity of Proto-Greek would have ended as Hellenic migrants entered the Greek peninsula sometime in the Neolithic era or the Bronze Age, Mycenaean Greek, the language of the Mycenaean civilisation. It is recorded in the Linear B script on tablets dating from the 15th century BC onwards, Ancient Greek, in its various dialects, the language of the Archaic and Classical periods of the ancient Greek civilisation. It was widely known throughout the Roman Empire, after the Roman conquest of Greece, an unofficial bilingualism of Greek and Latin was established in the city of Rome and Koine Greek became a first or second language in the Roman Empire. The origin of Christianity can also be traced through Koine Greek, Medieval Greek, also known as Byzantine Greek, the continuation of Koine Greek in Byzantine Greece, up to the demise of the Byzantine Empire in the 15th century. Much of the written Greek that was used as the language of the Byzantine Empire was an eclectic middle-ground variety based on the tradition of written Koine. Modern Greek, Stemming from Medieval Greek, Modern Greek usages can be traced in the Byzantine period and it is the language used by the modern Greeks, and, apart from Standard Modern Greek, there are several dialects of it. In the modern era, the Greek language entered a state of diglossia, the historical unity and continuing identity between the various stages of the Greek language is often emphasised. Greek speakers today still tend to regard literary works of ancient Greek as part of their own rather than a foreign language and it is also often stated that the historical changes have been relatively slight compared with some other languages. According to one estimation, Homeric Greek is probably closer to demotic than 12-century Middle English is to modern spoken English, Greek is spoken by about 13 million people, mainly in Greece, Albania and Cyprus, but also worldwide by the large Greek diaspora. Greek is the language of Greece, where it is spoken by almost the entire population

4.
Joe's Garage
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Joes Garage is a three-part rock opera recorded by American musician Frank Zappa in 1979. Originally released as two separate albums on Zappa Records, the project was later remastered and reissued as a triple album box set, Joes Garage, Acts I, II & III. The LPs initially received mixed to positive reviews, with praising its innovative and original music. Since its original release, Joes Garage has been reappraised as one of Zappas best works, Zappa self-deprecatingly described the album as a stupid little story about how the government is going to do away with music. After being released from prison into a society in which music itself has been criminalized. The album encompasses a spectrum of musical styles, while its lyrics often feature satirical or humorous commentary on American society. It addresses themes of individualism, free will, censorship, the industry and human sexuality, while criticizing government and religion. Joes Garage is noted for its use of xenochrony, a technique that takes guitar solos from older live recordings. After being released from his obligations with Warner Bros. Records, Frank Zappa formed Zappa Records, a label distributed at that time by Phonogram Inc and he released the successful double album Sheik Yerbouti, and began working on a series of songs for a follow-up album. The songs Joes Garage and Catholic Girls were recorded with the intention that Zappa would release them as a single, throughout the development of Joes Garage, Zappas band recorded lengthy jams which Zappa later formed into the album. Midway through recording the new album, Zappa decided that the songs connected coherently and wrote a story, Joes Garage was the final album Zappa recorded at a commercial studio. Zappas own studio, the Utility Muffin Research Kitchen, built as an addition to Zappas home, the Central Scrutinizer explains that music leads to a slippery slope of drug use, disease, unusual sexual practices, prison, and eventually, insanity. According to Scott Schinder and Andy Schwartz, Zappas narrative of censorship reflected the censorship of music during the Iranian Revolution of 1979, where rock music was made illegal. The title track is noted as having an aspect, as the character of Larry sings that the band plays the same song repeatedly because it sounded good to me. In real life, Zappa said he wrote and played music for himself, the song also takes lyrical inspiration from bands playing in bars like The Mothers of Invention once had, and shady record deals Zappa had experienced in the past. In Joes Garage, Joe finds that the industry is not everything it is cracked up to be. The song refers to a number of music fads, including new wave, heavy metal, disco and glitter rock, Catholic Girls is critical of the Catholic Church, and satirizes the hypocrisy of the myth of the good Catholic girl

5.
Sheik Yerbouti
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Sheik Yerbouti is a double album by Frank Zappa made up of material recorded in 1977 and 1978. It was first released on March 3,1979 as the first release on Zappa Records, sheik Yerbouti represented a major turning point in Zappas career. It was the first album to be released on his own label after his departure from Warner Bros. It emphasized the comedic aspect of his lyrics more than ever before, beginning a period of increased record sales, sheik Yerbouti remains Zappas biggest selling album worldwide with over 2 million units sold to date. The album featured Zappas satirical, humorous and otherwise offensive material, Bobby Brown is well-known worldwide, except for the US. This is because the song was banned from airplay due to its explicit lyrics. I Have Been in You pokes fun at Peter Framptons 1977 hit Im in You while maintaining a sexually driven structure, dancin Fool, a Grammy nominee, became a popular disco hit despite its obvious parodical reflection of disco music. Flakes, about the lousiness of laborers in California, includes a parody of Bob Dylan, some of Zappas solos from the album began life as improvisations from his earlier work. The song City of Tiny Lites featured a video made by Bruce Bickford which was featured on the Old Grey Whistle Test. Most of the tracks were recorded live and then overdubbed in the studio. Rat Tomago is bookended by two pieces of musique concrète, constructed of studio dialogue, sound effects, and assorted musical fragments. In making Rubber Shirt, Zappa combined a track of Terry Bozzio playing drums in one setting with one of Patrick OHearn playing the bass in another. The tracks differed in time signature and in tempo, Zappa referred to this technique as xenochrony. Nearly every song on the album features numerous overdubs, the album was also notable for being the career break of noted producer and engineer Joe Chiccarelli. In an interview with HitQuarters, Chiccarelli said, engineer couldn’t make the session, i’m so thankful ever since that day because he gave me a career. Initially, the album was met with mixed reviews, due to the controversy of its lyrical content, despite this, the album remains a cult favorite among Zappa fans to this day. The song Bobby Brown was extremely popular in Scandinavia, Zappa was reportedly so astounded by its success that he wanted CBS to hire an anthropologist to study why the song became such a big hit. All songs composed, written and arranged by Frank Zappa except where noted

6.
The Mothers of Invention
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The Mothers of Invention were an American rock band from California that served as the backing musicians for Frank Zappa. Formed in 1964, their work is marked by the use of experimentation, innovative album art. Originally an R&B band called the Soul Giants, the original lineup included Ray Collins, David Coronado, Ray Hunt, Roy Estrada. Zappa was asked to take over as the guitarist following a fight between Collins and Coronado, the bands original saxophonist/leader, Zappa insisted that they perform his original material, changing their name on Mothers Day to the Mothers. After record executives objected to the name it was changed, Zappa later said out of necessity, we became the Mothers of Invention. After early struggles, the Mothers earned substantial popular commercial success, the band first became popular playing in Californias underground music scene in the late 1960s. Under Zappas helm, it was signed to jazz label Verve Records as part of the labels diversification plans, Verve released the Mothers of Inventions début double album Freak Out. in 1966, featuring a lineup including Zappa, Collins, Black, Estrada and Elliot Ingber. Don Preston joined the band soon after, in 1970, he formed a new version of the Mothers that included Ian Underwood, Jeff Simmons, George Duke, Aynsley Dunbar and singers Mark Volman and Howard Kaylan. Later adding another ex-Turtle, bassist Jim Pons, this lineup endured through 1971, the final album using the Mothers as a backing band, Bongo Fury, featured guitarist Denny Walley and drummer Terry Bozzio, who continued to play for Zappa on non-Mothers releases. The Soul Giants were formed in 1964, in 1964, Frank Zappa was approached by Ray Collins who asked him to take over as the guitarist following a fight between Collins and the groups original guitarist. Zappa accepted, and convinced the members that they should play his music to increase the chances of getting a record contract. Original leader David Coronado did not think that the band would be if they played original material. Zappa soon assumed leadership and the role as singer, even though he never considered himself a singer. The band was renamed the Mothers, coincidentally on Mothers Day, the group increased their bookings after beginning an association with manager Herb Cohen, while they gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing Zappas Trouble Every Day, the label suggested the name The Mothers Auxiliary, which prompted Zappa to come up with the name The Mothers of Invention. With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, which, preceded by Bob Dylans Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète, and experimental sound collages that captured the freak subculture of Los Angeles at that time, the sound was raw, but the arrangements were sophisticated. The lyrics praised non-conformity, disparaged authorities, and had dadaist elements, yet, there was a place for seemingly conventional love songs

7.
We're Only in It for the Money
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Were Only in It for the Money is the third studio album by the Mothers of Invention. Released on March 4,1968 on Verve Records, it was remixed and re-recorded by Frank Zappa. It was conceived as part of a project called No Commercial Potential, Zappa stated, Its all one album. Then I could take that razor blade and cut it apart and reassemble it a different way, I could do this twenty ways. As the recording continued, The Beatles released their acclaimed album Sgt. In response to the release, Zappa decided to change the albums concept to parody the Beatles album, because he felt that the Beatles were insincere. The Beatles were targeted as a symbol of Zappas objections to the corporatization of youth culture, gary Kellgren was hired as an engineer for the project, and subsequently wound up delivering whispered pieces of dialogue that linked segments of Were Only in It for the Money. During the recording sessions, Verve requested that Zappa remove a verse from the song Mother People, while recording Were Only in It for the Money, Zappa discovered that the strings of Apostolic Studios grand piano would resonate if a person spoke near those strings. The piano people experiment involved Zappa having various speakers improvise dialogue using topics offered by Zappa, various people contributed to these sessions, including Eric Clapton, Rod Stewart and Tim Buckley. The piano people voices primarily consisted of Motorhead Sherwood, Roy Estrada, Spider Barbour, All-Night John and Louis Cuneo, who was noted for his laugh, which sounded like a psychotic turkey. Segments of orchestral music included on the album came from an orchestral album by Zappa previously released by Capitol Records under the title Lumpy Gravy in 1967. For some pressings of the album, MGM censored several tracks without Zappas knowledge, on the song Absolutely Free, the line I dont do publicity balling for you anymore was edited by MGM to remove the word balling, changing the context of the sentence. Additionally, on Lets Make The Water Turn Black, the line and I still remember Mama, with her apron and her pad, feeding all the boys at Eds Cafe was removed. Zappa later learned that this line was censored because an MGM executive thought that the word pad referred to a sanitary napkin, the Kellgren dialogue segment in Concentration Moon was also re-edited, making it seem that he was calling the Velvet Underground Frank Zappas group. In his lyrics for Were Only in It for the Money, Zappa speaks as a voice for the outsiders who didnt fit comfortably into any group. Zappa later stated in 1978, hippies were pretty stupid, the people involved in processes are very sensitive to criticism. They always take themselves too seriously, so anybody who impugns the process, whether its a peace march or love beads or whatever it is – that person is the enemy and must be dealt with severely. So we came under a lot of criticism, because we dared to suggest that perhaps what was going on was really stupid

8.
Freak Out!
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Freak Out. is the debut studio album by the American rock band the Mothers of Invention, released June 27,1966, on Verve Records. Often cited as one of rock musics first concept albums, the album is an expression of frontman Frank Zappas perception of American pop culture. It was also one of the earliest double albums in music. In the UK the album was released as an edited single disc. The album was produced by Tom Wilson, who signed The Mothers, Zappa said many years later that Wilson signed the group to a record deal in the belief that they were a white blues band. The bands original repertoire consisted of rhythm and blues covers, though after Zappa joined the band he encouraged them to play his own material. The musical content of Freak Out, ranges from rhythm and blues, doo-wop and standard blues-influenced rock to orchestral arrangements and avant-garde sound collages. Although the album was poorly received in the United States. It gained a following in America, where it continued to sell in substantial quantities until it was discontinued in the early 1970s. In 1999, the album was honored with the Grammy Hall of Fame Award, in 2006, The MOFO Project/Object, an audio documentary on the making of the album, was released in honor of its 40th anniversary. In the early 1960s, Zappa met Ray Collins, Collins supported himself by working as a carpenter, and on weekends sang with a group called the Soul Giants. Collins got into a fight with their guitar player, who quit, leaving the band in need of a substitute, and Zappa filled in. The Soul Giants repertoire originally consisted of R&B covers, though after Zappa joined the band he encouraged them to play his own original material and try to get a record contract. While most of the members liked the idea, then-leader and saxophone player Davy Coronado felt that performing original material would cost them bookings. The Soul Giants became the Mothers and Zappa took over leadership of the band, the group moved to Los Angeles in early 1965 after Zappa got them a management contract with Herb Cohen. They gained steady work at clubs along the Sunset Strip, MGM staff producer Tom Wilson offered the band a record deal on the Verve Records division in early 1966. He had heard of their growing reputation but had them perform only one song, Trouble Every Day. According to Zappa, this led Wilson to believe that they were a blues band

9.
The MOFO Project/Object
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The MOFO Project/Object is an album by Frank Zappa. The album was announced by the Zappa Family Trust in mid-2006 and it commemorates the 40th anniversary of Zappas first album, Freak Out. It documents the making of Freak Out and it was released as a uniquely packaged 4-CD set. It is project/object #1 in a series of 4tieth Anniversary FZ Audio Documentaries, a more affordable 2-CD set was also released. CD2 tracks 2,5,11,12,13,15 &16 are unique to this release, all the other tracks are available on The MOFO Project/Object 4-CD set. Disc 1 Original 1966 Stereo LP Mix of Freak Out, none of these tracks have previously appeared in any format outside the Vault other than the configuration offered herein. Disc 1 Original 1966 Stereo LP Mix of Freak Out

10.
Lumpy Money Project/Object
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The Lumpy Money Project/Object is a compilation album by Frank Zappa. It is project/object #3 in a series of 4tieth Anniversary FZ Audio Documentaries, the first disc consists of the 1967 version of Lumpy Gravy, intended for release by Capitol Records, and the 1968 mono mix of Were Only in It for the Money. The second disc consist of two remixes prepared by Zappa in 1984, with overdubs by drummer Chad Wackerman and bassist Arthur Barrow. The Lumpy Gravy remix derives from the 1968 edit, this version of the album had not been released in full. The second remix, of Were Only in It for the Money had previously released on compact disc in 1986. The third disc consists of studio material and interviews with Zappa discussing the albums. All tracks written by Frank Zappa, all Music produced/composed & performed/conducted by Frank Zappa

11.
Uncle Meat
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Uncle Meat is the fifth studio album by The Mothers of Invention, released as a double album in 1969. The music is diverse in style, drawing from orchestral, jazz, blues, Frank Zappa, who had been interested in film since high school, decided to develop a film vehicle for the Mothers of Invention, entitled Uncle Meat. The proposed film would combine elements of fiction and road stories inspired by the bands sexual escapades. Zappa stated, Its all one album, then I could take that razor blade and cut it apart and reassemble it a different way, and it still would make sense. I could do this twenty ways and we started that before it actually became Ruben and the Jets. That came out of my love for comics and that style, the anthropomorphic animals, Zappa wanted to make an album that would challenge the complacency of contemporary music fans, as he felt that his fanbase was accustomed to accepting everything that was handed to them. Somebody would just hand it to them and they wouldnt question it and it was my campaign in those days to do things that would shake people out of that complacency, or that ignorance and make them question things. Uncle Meat featured a variety of styles, including orchestral symphonies, free jazz, blues, doo wop and rock. Nine Types of Industrial Pollution is melodically formless rooted in percussion instrumentation, the rock and roll version features three verses with the first chorus being delivered by opera singer Nelcy Walker, and the second chorus featuring sped up vocals. S. O. The doo wop-influenced Electric Aunt Jemima refers to Zappas guitar amplifier, Zappa explained, I get kind of a laugh out of the fact that other people are going to try to interpret that stuff and come up with some grotesque interpretations of it. It gives me an amount of satisfaction. Uncle Meat was released as an album by Bizarre and Reprise Records, subtitled. Despite the albums experimental nature, it peaked at No. Contemporary reviews of the album were highly favorable, the New Rolling Stone Album Guide described the album as an inspired monstrosity. AllMusic writer Steve Huey wrote, despite the absence of a conceptual framework and its exciting to hear one of the most creatively fertile minds in rock pushing restlessly into new territory, even if he isnt always quite sure where hes going. The track listing programs the new tracks at the beginning of the second disc, all tracks written by Frank Zappa, except where noted

12.
Lumpy Gravy
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Zappa conducted the orchestra but did not perform on the album. It is his third overall, his previous releases had been under the name of his group. It was commissioned and briefly released, on August 7,1967, by Capitol Records in the 4-track Stereo-Pak format only, MGM claimed that the album violated Zappas contract with their subsidiary, Verve Records. In 1968 it was reedited and reissued by MGMs Verve Records on May 13,1968 and it consisted of two musique concrète pieces that combined elements from the original orchestral performance with elements of surf music and the spoken word. It was praised for its music and editing, produced simultaneously with Were Only in It for the Money, Zappa saw Lumpy Gravy as the second part of a conceptual continuity that later included his final album, Civilization Phaze III. Later it was re-edited by Zappa as part of a project called No Commercial Potential, following the release of Freak Out. Venet spent $40,000 on the album, Zappa states that my contract did not preclude me from doing that. I wasnt signed as a conductor, Lumpy Gravy was conceived as a short oratorio, written in eleven days. John Cage served as an influence on the album. Zappa named the group assembled for the sessions the Abnuceals Emuukha Electric Symphony Orchestra, percussionist Emil Richards recalled that he did not know who Zappa was and did not take him seriously as the recording sessions began, believing that Zappa was merely the guitarist for a rock band. However, upon meeting them, Zappa handed the musicians the scores for the pieces, Richards close friend, guitarist Tommy Tedesco, was another member of the recording sessions. Tedesco mocked Zappa, believing that Zappa did not know what he was doing, the bassoonist and bass clarinetist hired for the sessions refused to perform their parts, declaring them impossible to play. Zappa responded, If I play your part, will you at least try it, Zappa then played the notes for the musicians, who agreed to perform their assigned parts. By the end of the sessions, Richards and Tedesco became convinced of Zappas talent. Richards later performed on sessions which appeared on Zappas album Orchestral Favorites, Capitol released Lumpy Gravy on August 7,1967. Capitol intended to release a single consisting of the pieces Gypsy Airs, in response to the albums release, MGM threatened a lawsuit, claiming that its release violated Zappas contract. Zappa stated, Its all one album, then I could take that razor blade and cut it apart and reassemble it a different way, and it still would make sense. I could do this twenty ways, the piano people experiment involved Zappa having various speakers improvise dialogue using topics offered by Zappa

13.
Simon & Garfunkel
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Simon & Garfunkel were an American folk rock duo consisting of singer-songwriter Paul Simon and singer Art Garfunkel. They were one of the music groups of the 1960s and became counterculture icons of the decades social revolution, alongside artists such as the Beatles, the Beach Boys. Their biggest hits—including The Sound of Silence, Mrs. Robinson, Bridge over Troubled Water and their often rocky relationship led to artistic disagreements, which resulted in their breakup in 1970. Their final studio record, Bridge over Troubled Water, was their most successful, the duo met as children in Queens, New York, in 1953, where they learned to harmonize together and began writing original material. By 1957, under the name Tom & Jerry, the teenagers had their first minor success with Hey Schoolgirl, afterwards, the duo went their separate ways, with Simon making unsuccessful solo records. In 1963, aware of a public interest in folk music. Their début, Wednesday Morning,3 A. M. sold poorly, and they again disbanded, Simon returned to a solo career. In June 1965, their song The Sound of Silence was overdubbed, adding electric guitar and this later version became a major U. S. AM radio hit in 1965, reaching number one on the Billboard Hot 100, Simon & Garfunkel reunited, releasing their second studio album Sounds of Silence and touring colleges nationwide. On their third release, Parsley, Sage, Rosemary and Thyme and their music was featured in the 1967 film The Graduate, giving them further exposure. Bookends, their album, topped the Billboard 200 chart. After their 1970 breakup following the release of Bridge over Troubled Water, Simon & Garfunkel were described by critic Richie Unterberger as the most successful folk-rock duo of the 1960s and one of the most popular artists from the decade in general. They won 10 Grammy Awards and were inducted into the Rock and their Bridge over Troubled Water album was nominated at the 1977 Brit Awards for Best International Album and is ranked at number 51 on Rolling Stones 500 Greatest Albums of All Time. Individually, when young, they developed a fascination with music. That first stage appearance was followed by the duo forming a street-corner doo-wop group and they began performing for the first time as a duo at school dances. They moved to Forest Hills High School in 1955, where, in 1956, they wrote their first song, The Girl for Me, Simons father sent a handwritten copy to the Library of Congress to register a copyright. While trying to remember the lyrics to the Everlys song Hey Doll Baby, they created their own song, Hey Schoolgirl, while recording they were overheard by a promoter, Sid Prosen, who – after speaking to their parents – signed them to his independent label Big Records. While still aged 15, Simon & Garfunkel now had a contract with Sid Prosens independent label Big Records

14.
Bookends (album)
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Bookends is the fourth studio album by American music duo Simon & Garfunkel. Produced by Paul Simon, Roy Halee and Art Garfunkel, the album was released on April 3,1968 in the United States by Columbia Records. The duo had risen to two years prior with hit albums such as Sounds of Silence and Parsley, Sage, Rosemary and Thyme, radio singles. In 1967, Simon was approached by director Mike Nichols to write songs for his next film, released several weeks prior to Bookends, the soundtrack album propelled the band further into stardom. Bookends, in contrast to the album, follows a unified concept. Side one of the album marks successive stages in life, the serving as literal bookends to the life cycle. Side two largely consists of unused material for The Graduate soundtrack, Simons lyrics largely revolve around youth, disillusionment, relationships, old age, and mortality. Much of the material was crafted alongside producer John Simon, who joined the process when Paul Simon suffered from writers block. As a result, the album was recorded gradually over the period of a year, initial sales for Bookends were substantial in the US, and the album produced the number one hit single, Mrs. Robinson. The album was mainly a hit in the native country as well as the United Kingdom. The album has continued to receive acclaim in recent years as one of the duos finest efforts. M. Following another release, Sounds of Silence, the duo recorded and released Parsley, Sage, Rosemary and Thyme, Simon, then 27, felt he had finally made it into an upper echelon of rock and roll, while most importantly retaining artistic integrity. The duo chose William Morris as their booking agency after a recommendation from Wally Amos, during the sessions for Parsley, the duo cut A Hazy Shade of Winter and decided to release it as a single then, where it peaked at number 13 on the national charts. Similarly, they recorded At the Zoo for single release in early 1967, Simon began work for Bookends around this time, noting to a writer at High Fidelity that Im not interested in singles anymore. He had hit a dry spell in his writing, which led to no Simon & Garfunkel album on the horizon for 1967. Artists at the time were expected to release two, perhaps three albums each year and the lack of productivity from the duo worried executives at Columbia Records, amid concerns for Simons idleness, Columbia Records chairman Clive Davis arranged for up-and-coming record producer John Simon to kick-start the recording. Meanwhile, director Mike Nichols, then filming The Graduate, had become fascinated with the duos past two efforts, listening to them nonstop before and after filming. After two weeks of this obsession, he met with Clive Davis to ask for permission to license Simon & Garfunkel music for his film, Davis viewed it as a perfect fit and envisioned a best-selling soundtrack album

15.
The Sound of Silence
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The Sound of Silence, originally The Sounds of Silence, is a song by the American music duo Simon & Garfunkel. The song was written by Paul Simon over a period of months in 1963 and 1964. M. Released in October 1964, the album was a failure and led to the duo breaking apart, with Paul Simon returning to England. In spring 1965, the song began to attract airplay at radio stations in Boston, Massachusetts, the growing airplay led Tom Wilson, the songs producer, to remix the track, overdubbing electric instrumentation. Simon & Garfunkel were not informed of the remix until after its release. The single was released in September 1965, the song was a top-ten hit in multiple countries worldwide, among them Australia, Austria, West Germany, Japan and the Netherlands. Originally titled The Sounds of Silence on Wednesday Morning,3 A. M. the song was re-titled for later compilations beginning with Simon, Simon and Garfunkel became interested in folk music and the growing counterculture movement separately in the early 1960s. Having performed together previously under the name Tom and Jerry in the late 1950s, in 1963, they regrouped and began performing Simons original compositions locally in Queens. They billed themselves Kane & Garr, after old recording pseudonyms, and signed up for Gerdes Folk City, a Greenwich Village club that hosted Monday night performances. In September 1963, the duo performed three new songs, among them The Sound of Silence, getting the attention of Columbia Records producer Tom Wilson, who worked with Bob Dylan. Simon convinced Wilson to let him and his partner have a studio audition, the songs origin and basis remain unclear, with multiple answers coming forward over the years. Many believe that the song commented on the John F. Kennedy assassination, the main thing about playing the guitar, though, was that I was able to sit by myself and play and dream. And I was always doing that. I used to go off in the bathroom, because the bathroom had tiles, Id turn on the faucet so that water would run and Id play. Hello darkness, my old friend / Ive come to talk with you again, in a more recent interview, Simon was directly asked, How is a 21 year old person thinkin about the words in that song. His reply was, I have no idea, according to Garfunkel, Simon originally wrote the lyric as Aloha darkness, my old friend. To promote the release of their album, Wednesday Morning,3 A. M. the duo performed again at Folk City. Dave Van Ronk, a singer, was at the performances

16.
Sounds of Silence
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Sounds of Silence is the second studio album by Simon & Garfunkel, released on January 17,1966. The albums title is a modification of the title of the duos first major hit, The Sound of Silence. The song had earlier been released in a version on the album Wednesday Morning,3 A. M. Without the knowledge of Paul Simon or Art Garfunkel, electric guitars, bass and this new version was released as a single in September 1965, and opens the album. Homeward Bound was released on the album in the UK, placed at the beginning of Side 2 before Richard Cory and it was also released as part of the box set Simon & Garfunkel Collected Works, on both LP and CD. Many of the songs in the album had written by Paul Simon while he lived in London during 1965. Richard Cory was based on a poem by Edwin Arlington Robinson, hence the only brand new Paul Simon composition on the album was Blessed. The album is included in its entirety as part of the Simon & Garfunkel box sets Collected Works. On March 22,2013, it was announced that the album will be preserved by the Library of Congress in the National Recording Registry, calling it culturally, historically, All tracks written by Paul Simon, except where noted. Produced by Bob Johnston Track 12 Produced by Bob Johnston Tracks 13-15 Produced by Paul Simon, Art Garfunkel & Roy Halee All tracks written by Paul Simon, except where noted. English singer-songwriter Billy Bragg lifted the opening lines of Leaves That Are Green for his song A New England and these same lyrics can be found in the Kirsty MacColl version of this song. Released as a cover in 1984, the song was MacColls biggest solo hit—reaching #7 in the UK, the Tremeloes recording of Blessed became their 1966 solo debut single. Somewhere They Cant Find Me is essentially a reworking of the track of the duos first album. It was recorded along with Weve Got a Groovy Thing Goin a few months before producer Tom Wilson dubbed electric instruments on Sounds of Silence. The recurring descending bass line in the track as well as its guitar riff were borrowed from Davey Grahams acoustic guitar piece Anji. Two songs on the deal with suicide, Richard Cory. The song Richard Cory was based on a poem with the title by Edwin Arlington Robinson. The chorus, however, is entirely of Simons composition, them recorded Richard Cory as a single in 1966

17.
King Crimson
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King Crimson are an English rock band formed in London in 1968. Fripp is the only consistent member of the group, and is considered the bands leader, the band has earned a large cult following. King Crimsons debut album, In the Court of the Crimson King, remains its most successful and influential, with its elements of jazz, classical and their success increased following an opening act performance for the Rolling Stones at Hyde Park, London, in 1969. Following the less successful In the Wake of Poseidon, Lizard, and Islands, the reached a new creative peak with Larks Tongues in Aspic, Starless and Bible Black. Fripp disbanded the group in 1974, in 1981, King Crimson reformed with a change in musical direction which lasted for three years, resulting in the trio of albums Discipline, Beat, and Three of a Perfect Pair. Following a decade-long hiatus, Fripp revived the group in 1994, since 1997, several musicians have pursued aspects of the bands work and approaches through a series of related bands collectively referred to as ProjeKCts. In 2000, the band reunited once more and released The Construkction of Light, the bands most recent album is The Power to Believe. In 2009 the band undertook a tour to celebrate their 40th Anniversary, fellow Dorset musician Robert Fripp – a guitarist who did not sing – responded and the trio formed the band Giles, Giles and Fripp. Based on a format of pop songs and complex instrumentals. The band hovered on the edge of success, with several radio sessions and a television appearance, the album was no more of a success than the singles, and was even disparaged by Keith Moon of the Who in a magazine review. Attempting to expand their sound, the three recruited Ian McDonald on keyboards, reeds and woodwinds, McDonald brought along his then-girlfriend, former Fairport Convention singer Judy Dyble, whose brief tenure with the group ended when the two split. Would you like to get together on a couple of songs, Fripp, meanwhile, saw Clouds perform at the Marquee Club in London which inspired him to incorporate classical melodies and jazz-like improvisation in his song writing. No longer interested in pursuing Peter Giles more whimsical pop style, Fripp recommended his friend, singer and guitarist Greg Lake, join, Peter Giles later called it one of Fripps cute political moves. But he had become disillusioned with the lack of success and departed, leaving Lake to become bassist. The first incarnation of King Crimson formed in London on 30 November 1968, the bands name was coined by Sinfield, though it is not meant to be a synonym for Beelzebub, prince of demons. McDonald suggested the purchase a Mellotron, and they began using it to create an orchestral rock sound. Sinfield described Crimson thus, If it sounded at all popular, so it had to be complicated, it had to be more expansive chords, it had to have strange influences. If it sounded, like, too simple, wed make it more complicated, wed play it in 7/8 or 5/8, just to show off

18.
In the Wake of Poseidon
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In the Wake of Poseidon is the second studio album by English progressive rock group King Crimson, released in May 1970. The album was recorded during instability in the band, with personnel changes. Similarly to their first album, the mood of this album often changes from serene to chaotic, the album was their highest-charting in the UK, reaching number 4. It has been received by critics. Ian McDonald and Michael Giles left the band following their first American tour in 1969, Greg Lake was the next member to leave, after being approached by Keith Emerson to join what would become Emerson, Lake & Palmer in early 1970. This left Robert Fripp as the remaining musician in the band. To compensate, Peter Sinfield increased his own role and began developing his interest in synthesizers for use on subsequent records. Lake agreed to sing on the recordings for In the Wake of Poseidon, eventually, he ended up singing on the bands early 1970 single Cat Food and on all but one of the album’s vocal tracks. The exception was Cadence and Cascade, which was sung by Fripps old schoolfriend, there does exist however, an early mix of the song with Lake singing a guide vocal which was unearthed and featured on the DGM site as a download. At one point, the band considered hiring the then-unknown Elton John to be the albums singer, other former members and associates returned – as session players only – for the Poseidon recordings, with all bass parts being handled by Peter Giles and Michael Giles drumming. Mel Collins contributed saxophones and flute, another key performer was jazz pianist Keith Tippett, who became an integral part of King Crimsons sound for the next few records. On 25 March 1970, the line up of Fripp, Lake, Tippett, Mike and it was to be King Crimsons sole British TV appearance until 1981. While the footage was thought wiped for decades, most of the performance has since been rediscovered as it was licensed to the European show Hits a Go Go and was repeated in 2015, several photographs taken backstage and of the dress rehearsal also document the performance. With the album on sale, Fripp and Sinfield remained in the position of having King Crimson material and releases available. Mel Collins was also retained as a band member. The album opens with an a cappella piece called Peace – A Beginning, the strongly jazz fusion-influenced Pictures of a City was originally performed live, often extended to over ten minutes and was called A Man, a City. An example of such a performance can be found on the live album Epitaph, King Crimson was forbidden by the composers legal estate to use Holsts piece so the Devils Triangle employs a different staccato riff than the one from Mars. In 1971, an excerpt from The Devil’s Triangle was featured on the BBC television series Doctor Who

19.
The Court of the Crimson King
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The Court of the Crimson King is the fifth and final track from the British progressive rock band King Crimsons debut album, In the Court of the Crimson King. Also released as a single, it reached #80 on the Billboard Hot 100 charts, along with Heartbeat, it is one of the bands only two charting singles in the United States. The track is dominated by a distinct riff performed on the Mellotron in D major, the main part of the song is split up into 4 verses, divided by an instrumental section called The Return of the Fire Witch. The song climaxes at seven minutes, but continues with a reprise, before ending on an abrupt. The music was written by Ian McDonald and the lyrics by Peter Sinfield and it has been covered by British heavy metal band Saxon on their 2001 album Killing Ground. The song has been covered by Asia on their 2006 reunion tour, the song was covered live by Howard Sterns in-studio band The Losers. Their performance won a Battle of the Bands contest against Tina Yothers and her band Jaded, the song, sung by original lead vocalist Greg Lake, was featured in the set list during the seventh edition tour of Ringo Starr & His All-Starr Band in 2001. Eläkeläiset covered the song on their 2012 album Humppasheikkailu as Humpan Kuninkaan Hovissa, connecticut-based AOR band Arc Angel covered the song on their debut self-titled album. The track was used in the 2006 dystopian film Children of Men and it is also heard briefly in the first episode of the Red Riding trilogy. The song is used widely in the Canadian television series Kenny vs. Spenny. The instrumental part of the song can be heard in the French movie Cinéman, the song has been recently chosen as the ending theme for the videogame Natural Doctrine. The Court of the Crimson King lyrics Lyrics of this song at MetroLyrics

20.
Buckethead
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Brian Patrick Carroll, known professionally as Buckethead, is an American guitarist and multi-instrumentalist who has worked within many genres of music. He has released 281 studio albums, four special releases and one EP and he has also performed on more than 50 other albums by other artists. His music spans many diverse areas such as metal, funk, blues, Heavy Metal, bluegrass, ambient. At one point, he changed to a white bucket that no longer bore the KFC logo. He also incorporates nunchaku and robot dancing into his stage performances, as an instrumentalist, Buckethead has received critical acclaim for his electric guitar playing, and is considered one of todays more innovative guitarists. Brian Patrick Carroll was born on May 13,1969 to Tom and Nancy Carroll and is one of five siblings along with Lynn, Lisa, Lori and he grew up in a Southern California suburb not far from Disneyland. In his youth, he was a shy kid and spent most of his time in his room, which was filled with books, games, martial-arts movie memorabilia. He also spent a lot of time at Disneyland, brian began playing guitar at the age of 12. He learned how to play from an man who lived down the road. He had been quoted as saying, however, that he did not become serious until a year later when he moved from Huntington Beach and his playing began improving by taking private lessons from various teachers at a local music store. His early teachers included Max McGuire, Johnny Fortune, Mark Hammond, Pebber Brown, Buckethead played a tribute to all his early teachers when the Deli Creeps played a show at Styles Musics 25th anniversary. He then began making recordings of both his playing as well as his writing styles, which would later be released in 2007-2008. The Buckethead persona came to be when Carroll saw the 1988 horror movie Halloween 4 and was inspired by the film and he went right out after seeing it and bought a Michael Myers-like white mask. The bucket idea came later that night while eating Kentucky Fried Chicken, In 1988 after leaving the band Class-X, impressed with this demo, he rushed into the restaurant where Buckethead and his parents were having lunch and encouraged him to make the most of his talent. In 1989 a song called Soowee by Buckethead got honorable mention in another song contest, in 1991, Buckethead moved into Obrechts basement. The song Brazos was eventually released on the 1991 demo tape of his band Deli Creeps, titled Tribal Rites, in 1991 Buckethead contributed to Derek Baileys Company project alongside, among others, John Zorn and Alexander Bălănescu, resulting in a triple album called Company 91. After his first two demo tapes, called Giant Robot and Bucketheadland Blueprints, Buckethead released Bucketheadland on John Zorns Japanese Avant record label in 1992, though available only as a pricey import, the record received positive reviews and earned some attention. Buckethead soon became Laswells second staple guitar player, besides Nicky Skopelitis, in 1992, Buckethead, with Bill Laswell, Bernie Worrell, Bootsy Collins, and Bryan Brain Mantia, formed the supergroup Praxis

21.
Forensic Follies
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Forensic Follies is the twenty-fifth studio album by avant-garde guitarist Buckethead, and the sixth album to be originally released on tour, first being sold at Bucketheads May 2009 concerts. It was announced on May 26 for a June 1 release, the album uses a technique known as xenochrony which consist of using parts of older songs and taking them to create another new song. Track 1, Forensic Follies, contains the intro of Checkerboard Incision off Decoding the Tomb of Bansheebot and samples from Robot Checkerboard, Track 2, A-Cycle Light-Ray Cannons, contains samples from Mecha Gigan off Crime Slunk Scene. Track 3, Splinter in a Slunks Eye, borrows the drum track of Korova Binge Bar from Island of Lost Minds, and contain samples of Siege Engine and Symmetrical Slug off Albino Slug. Track 4, Under Sea Scalp, consists of samples of Thai Fighter Swarm, Track 5, Whirlwind, contain samples of the song Dream Darts from Island of Lost Minds. Track 6, Plunger, lends Slaughterhouse on the Prairie track The Stretching Rooms drum track. Track 7, Trunk of the Tree, consists of samples off Thai Fighter Swarm from the album The Elephant Mans Alarm Clock and the drum track off In Search of Inbred Mountain from Inbred Mountain. Track 8, Slunk Shrine, features samples from Mecha Gigan off Crime Slunk Scene, and uses Gigans drum track from the album The Elephant Mans Alarm Clock. Track 9, Open Coffin Jamboree, contains samples of Korova Binge Bar from Island of Lost Minds, Track 10, Taking Care of Grampa, contains samples of The Cuckoo Parade off Island of Lost Minds. Track 11, Three Headed Troll, contains sample of Dream Darts off Island of Lost Minds. Track 12, Splinter Dissection, features samples of Thai Fighter Swarm from The Elephant Mans Alarm Clock, Track 13, Mannequin Molds, uses samples of Col. Austin VS Col. Sanders AKA Red Track Suit from the album Crime Slunk Scene. Buckethead - Finger pikes, guitar Dan Monti - Drum programming and bass Artwork by Bryan Theiss, Frankenseuss Labs, Seattle Produced by Dan Monti & Albert Engineered and mixed by Dan Monti

22.
Needle in a Slunk Stack
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Needle in a Slunk Stack is the twenty-sixth studio album by avant-garde guitarist Buckethead. It was announced on September 24,2009 on TDRSMusic. com and its name is a play on the popular saying Needle in a Hay Stack. However, unlike Forensic Follies, in even the drum tracks to previous songs are used. Track 3, Carcass Cable, lends samples off Hall Of Scalding Vats from Decoding the Tomb of Bansheebot. Track 4, Next Stop, the Shell, features samples of songs off Crime Slunk Scene, such as Col. Austin VS Col. Sanders AKA Red Track Suit, Track 5, Distilled Scalp, contains samples of Fizzy Lipton Drinks, off The Elephant Mans Alarm Clock. Track 6, Furnace, lends samples of Droid Assembly off The Elephant Mans Alarm Clock, Track 7, Mego Frankenstein, consists of samples from the The Elephant Mans Alarm Clock song Elephant Mans Alarm Clock. Track 8, Alpha Sea, contains samples of Advance to the Summit from Inbred Mountain. Track 9, Wormwoods Workshop Part 1, features samples of Mad Monster Party from Crime Slunk Scene Track 10, Pythagorus Sled, contains samples of In Search of Inbred Mountain, Track 11, Slunk Smuggler, features samples of Inbred Mountain song Johnny Be Slunk. Buckethead - Infinite Beak, Guitar Dan Monti - Drum Programming Produced by Dan Monti and Albert Artwork by Bryan Theiss, Frankenseuss Labs, Seattle

23.
Periphery (band)
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Periphery is an American progressive metal band based in Washington, D. C. formed in 2005. They are considered one of the pioneers of the djent movement within progressive metal, the band consists of vocalist Spencer Sotelo, guitarists Misha Mansoor, Mark Holcomb, and Jake Bowen, drummer Matt Halpern, and bassist Adam Nolly Getgood. Periphery released their debut in 2010, followed by Periphery II. On December 3,2013 they released a teaser for their EP Clear, Peripherys third and fourth studio albums, entitled Juggernaut, Alpha and Juggernaut, Omega respectively, were released on January 15,2015. Most recently, Periphery released their third self-titled album, Periphery III, all Periphery material is self-produced by the members of the band. org message boards. Before and during Peripherys tenure in the scene, Mansoor developed a reputation for doing his own audio production, the majority of which was performed with a home computer. Mansoor has continued to update his personal project, Bulb, often transferring songs between the two projects, Mansoor also continues to be involved in a number of other musical projects, including Haunted Shores, Four Seconds Ago, and Of Man Not of Machine. Periphery went through a number of changes during its early history. Originally, Misha played drums and guitar in the band, but began scoping out local talent and found local drummer Jason Berlin, Berlin was planning to pursue interests in Los Angeles and was replaced upon departure by Travis Orbin. In 2009, Travis Orbin left the band to pursue a career as a session drummer and he was then replaced by Matt Halpern, who was scouted by Mansoor whilst playing for a local pop band. Periphery released their debut album, Periphery, through Sumerian Records on April 20,2010. It debuted at No.128 on the Billboard Top 200, the band ran into multiple health issues during the tour, Spencer Sotelo had a case of bronchitis and was regularly unable to perform the entire set. Jake Bowen fell and broke a finger in the first week of the UK tour and was unable to play for the rest of their headlining tour. He recovered and joined the band during the last couple of shows on their tour with Fair to Midland and Scale the Summit right before they dropped out of the tour. On March 22, Periphery released a cover of Metallicas song One, on January 19,2011, the music video for Jetpacks Was Yes. was posted on NME. The video features a re-recorded and re-structured version of the song which was released on The Icarus EP, Peripherys first single, from their Icarus EP titled Frak the Gods, was released on March 24. On July 6,2011, Periphery announced via a MySpace blog post that the band had parted ways with guitarist Alex Bois. However, they did not change touring schedules, hiring Mark Holcomb, on 7 September 2011, they were announced as the opening act for Dream Theater on the European leg of A Dramatic Turn of Events Tour starting in January 2012

24.
Periphery II: This Time It's Personal
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Periphery II, This Time Its Personal is the second album by the progressive metal band Periphery, released June 29,2012 through Roadrunner Records Australia and July 3 through Sumerian in America. It is the first record by the band to new members Mark Holcomb and Adam Nolly Getgood, replacing Alex Bois and Tom Murphy on guitar and bass. On May 30,2012, Periphery posted a teaser featuring the intro track Muramasa. The albums first single, Make Total Destroy, was released on iTunes Tuesday, on June 14,2012, the band released the track Scarlet on SiriusXMs Liquid Metal channel. The official stream of the song was released on June 28 on Sumerian Records YouTube channel, the whole album was also streamed on Metal Hammers website from June 29 for visitors to listen to. The album sold nearly 12,000 copies in its first week of release, in Canada, the album debuted at #89 on the Canadian Albums Chart. It was ranked number 3 in Guitar Worlds Top 50 Albums of 2012

25.
Polyrhythm
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Polyrhythm is the simultaneous use of two or more conflicting rhythms, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of a piece of music. In some European art music, polyrhythm periodically contradicts the prevailing meter, for example, polyrhythm is heard near the opening of Beethovens Third Symphony. It is a common feature of the music of Brahms. Writing about the Violin Sonata in G major, Op and these ideas gather at the climax at measure 235, with the layering of phrases making an effect that perhaps during the 19th century only Brahms could have conceived. The illusion of simultaneous 34 and 68, suggests polymeter, triple meter combined with compound duple meter, however, the two beat schemes interact within a metric hierarchy. The triple beats are primary and the beats are secondary. The four-note ostinato pattern of Mykola Leontovychs Carol of the Bells is the composite of the two-against-three hemiola, another example of polyrhythm can be found in measures 64 and 65 of the first movement of Wolfgang Amadeus Mozarts Twelfth Piano Sonata. Three evenly spaced sets of three attack-points span two measures, the physical basis of cross-rhythms can be described in terms of interference of different periodicities. A simple example of a cross-rhythm is 3 evenly spaced notes against 2, other cross-rhythms are 4,3,5,2,5,3,5,4, etc. All these interval ratios are found in the harmonic series, in traditional European rhythms, the most fundamental parts typically emphasize the primary beats. By contrast, in rhythms of sub-Saharan African origin, the most fundamental parts typically emphasize the secondary beats and this often causes the uninitiated ear to misinterpret the secondary beats as the primary beats, and to hear the true primary beats as cross-beats. In other words, the background and foreground may mistakenly be heard. In Non-Saharan African music traditions, cross-rhythm is the generating principle, cross-rhythm was first explained as the basis of non-Saharan rhythm in lectures by C. K. Ladzekpo and the writings of David Locke, from the philosophical perspective of the African musician, cross-beats can symbolize the challenging moments or emotional stress we all encounter. Playing cross-beats while fully grounded in the beats, prepares one for maintaining a life-purpose while dealing with lifes challenges. Many non-Saharan languages do not have a word for rhythm, or even music, from the African viewpoint, the rhythms represent the very fabric of life itself, they are an embodiment of the people, symbolizing interdependence in human relationships—Peñalosa. At the center of a core of rhythmic traditions within which the composer conveys his ideas is the technique of cross-rhythm, the technique of cross-rhythm is a simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter

26.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu

27.
Audio engineer
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An audio engineer works on the recording, manipulating the record using equalization and electronic effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the. technical aspect of recording—the placing of microphones, pre-amp knobs, the physical recording of any project is done by an engineer. Many audio engineers creatively use technologies to produce sound for film, radio, television, music, electronic products and computer games. Audio engineers also set up, sound check and do live sound mixing using an audio console, research and development audio engineers invent new technologies, equipment and techniques, to enhance the process and art of audio engineering. They might also be referred to as acoustic engineers, audio engineers in research and development usually possess a bachelors degree, masters degree or higher qualification in acoustics, physics, computer science or another engineering discipline. They might work in consultancy, specializing in architectural acoustics. Alternatively they might work in companies, or other industries that need audio expertise. Some positions, such as faculty require a Doctor of Philosophy, in Germany a Toningenieur is an audio engineer who designs, builds and repairs audio systems. The listed subdisciplines are based on PACS coding used by the Acoustical Society of America with some revision, audio engineers develop algorithms to allow the electronic manipulation of audio signals. These can be processed at the heart of audio production such as reverberation. Alternatively, the algorithms might carry out echo cancellation on Skype, or identify, architectural acoustics is the science and engineering of achieving a good sound within a room. For audio engineers, architectural acoustics can be about achieving good speech intelligibility in a stadium or enhancing the quality of music in a theatre, architectural Acoustic design is usually done by acoustic consultants. Electroacoustics is concerned with the design of headphones, microphones, loudspeakers, sound reproduction systems, examples of electroacoustic design include portable electronic devices, sound systems in architectural acoustics, surround sound in movie theater and vehicle audio. Musical acoustics is concerned with researching and describing the science of music, in audio engineering, this includes the design of electronic instruments such as synthesizers, the human voice, computer analysis of audio, music therapy, and the perception and cognition of music. Psychoacoustics is the study of how humans respond to what they hear. At the heart of audio engineering are listeners who are the final arbitrator as to whether a design is successful. The production, computer processing and perception of speech is an important part of audio engineering, ensuring speech is transmitted intelligibly, efficiently and with high quality, in rooms, through public address systems and through mobile telephone systems are important areas of study. Producer, engineer, and mixer Phil Ek has described audio engineering as the aspect of recording—the placing of microphones, the turning of pre-amp knobs

28.
Audio filter
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An audio filter is a frequency dependent amplifier circuit, working in the audio frequency range,0 Hz to beyond 20 kHz. Audio filters can amplify, pass or attenuate some frequency ranges, common types include low-pass filters, which pass through frequencies below their cutoff frequencies, and progressively attenuates frequencies above the cutoff frequency. Low-pass filters are used in audio crossovers to remove content from signals being sent to a low-frequency subwoofer system. A high-pass filter does the opposite, passing high frequencies above the cutoff frequency, a high-pass filter can be used in an audio crossover to remove low-frequency content from a signal being sent to a tweeter. A bandpass filter passes frequencies between its two frequencies, while attenuating those outside the range. A band-reject filter, attenuates frequencies between its two frequencies, while passing those outside the reject range. An all-pass filter passes all frequencies, but affects the phase of any given sinusoidal component, in more complex cases, an audio filter can provide a feedback loop, which introduces resonance alongside attenuation. Audio filters can also be designed to gain as well as attenuation. In other applications, such as with synthesizers or sound effects, audio filters can be implemented in analog circuitry as analog filters or in DSP code or computer software as digital filters. Generically, the term audio filter can be applied to anything which changes the timbre. Electrical resonance Electronic filter Equalization Feedback Linear filter Oscillation Self-resonant frequency

29.
Audio mastering
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Mastering requires critical listening, however, software tools exist to facilitate the process. Mastering is a gateway between production and consumption and, as such, it involves technical knowledge as well as specific aesthetics. Results still depend upon the accuracy of speaker monitors and the listening environment, mastering engineers may also need to apply corrective equalization and dynamic compression in order to optimise sound translation on all playback systems. It is standard practice to make a copy of a recording, known as a safety copy, in case the master is lost. In the earliest days of the industry, all phases of the recording and mastering process were entirely achieved by mechanical processes. The cutting head, driven by the energy transferred from the horn and these masters were usually made from either a soft metal alloy or from wax, this gave rise to the colloquial term waxing, referring to the cutting of a record. Until the introduction of recording, master recordings were almost always cut direct-to-disc. Only a small minority of recordings were mastered using previously recorded material sourced from other discs, in the late 1940s, the recording industry was revolutionized by the introduction of magnetic tape. Magnetic tape was invented for recording sound by Fritz Pfleumer in 1928 in Germany, not until the end of World War II could the technology be found outside of Europe. The introduction of tape recording enabled master discs to be cut separately in time. From the 1950s until the advent of recording in the late 1970s. Once the studio recording on tape was complete, a final mix was prepared and dubbed down to the master tape. Prior to the cutting of the disc, the master tape was often subjected to further electronic treatment by a specialist mastering engineer. After the advent of tape it was found that, especially for pop recordings and this was done by making fine adjustments to the amplitude of sound at different frequency bands prior to the cutting of the master disc. Record mastering became a prized and skilled craft, and it was widely recognized that good mastering could make or break a commercial pop recording. As a result, the independent mastering studio was born, early independent mastering engineers included Doug Sax, Bob Ludwig, Bob Katz and Bernie Grundman and Denny Purcell. In large recording companies such as EMI, the process was usually controlled by specialist staff technicians who were conservative in their work practices. In the 1990s, electro-mechanical processes were largely superseded by digital technology, with digital recordings stored on disk drives or digital tape

30.
Audio mixing (recorded music)
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The track may be mixed in mono, stereo, or surround sound. There are numerous approaches, methods and techniques involved in Audio mixing, some of these practices include levels setting, equalization, stereo panning, Audio mixing techniques and approaches can vary widely, and these can greatly affect the qualities of the sound recording. Audio mixing techniques largely depend on music genres and the quality of sound recordings involved, the process is generally carried out by a mixing engineer, though sometimes the musical producer or music artist may assist. After mixing, a mastering engineer prepares the final product for production, Audio mixing may be transferred onto a mixing console or digital audio workstation. Jay bala ji In the late century, Thomas Edison. The recording and reproduction process itself was completely mechanical with little or no electrical parts, Emile Berliners gramophone system recorded music by inscribing spiraling lateral cuts onto a vinyl disc. Electronic recording became widely used during the 1920s. It was based on the principles of electromagnetic transduction, the possibility for a microphone to be connected remotely to a recording machine meant that microphones could be positioned in more suitable places. Even more useful was the fact that the outputs of the microphones could be mixed before being fed to the disc cutter, before the introduction of multitrack recording, all sounds and effects that were to be part of a record were mixed at one time during a live performance. If the recorded blend wasnt satisfactory, or if one made a mistake. Modern mixing emerged with the introduction of commercial multi-track tape machines, the ability to record sounds into a multitude of channels meant that treating these sounds could be postponed to a later stage– the mixing stage. In the 1980s, home recording and mixing became much easier, the 4-track Portastudio was introduced in 1979. Bruce Springsteen released the album Nebraska in 1982 using one, the Eurythmics topped the charts in 1983 with the song Sweet Dreams, recorded by band member Dave Stewart on a makeshift 8-track recorder. In the mid-to-late 1990s, computers replaced tape-based recording for most home studios, at the same time, digital audio workstations, first used in the mid-1980s, began to replace tape in many professional recording studios. A mixer is the heart of the mixing process. Mixers offer a multitude of inputs, each fed by a track from a multitrack recorder, mixers typically have 2 main outputs or 8. Mixers offer three main functionalities, Mixing – summing signals together, which is normally done by a dedicated summing amplifier or in the case of digital by a simple algorithm, routing – allows the routing of source signals to internal buses or external processing units and effects. Processing – many mixers also offer on-board processors, like equalizers and compressors, Mixing consoles used for dubbing can often be seen as large and intimidating, due to the exceptional amount of controls

31.
Effects unit
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An effects unit or pedal is an electronic or digital device that alters how a musical instrument or other audio source sounds. In the 2010s, most effects use solid state electronics and/or computer chips, some vintage effects units from the 1930s to the 1970s and modern reissues of these effects use mechanical components as well or vacuum tubes. Musicians, audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, electronic keyboard, while guitar effects are most frequently used with electric or electronic instruments, effects can also be used with acoustic instruments, drums and vocals. Rackmounted or audio console-integrated reverb effects are used with vocals in live sound and sound recording. Examples of common units include wah-wah pedals, fuzzboxes and reverb units. A stompbox or pedal is a metal or plastic box placed on the floor in front of the musician and connected to the instrument. Pedals are usually the least expensive format, a rackmount device mounts on a standard 19-inch equipment rack and usually contains several types of effects. Rackmount effects typically have buttons and/or knobs on the face of the chassis for controlling the effects, an effects unit is also called an effect box, effects device, effects processor or simply effects. In audio engineer parlance, a signal without effects is dry, the abbreviation F/X or FX is sometimes used. A pedal-style unit may be called a box, stompbox. When a musician has multiple effects in a rack mounted road case, Effects units are available in a variety of formats or form factors. Stompboxes are usually the smallest, least expensive, and most rugged effects units, rackmount devices are generally more expensive and offer a wider range of functions. An effects unit can consist of analog or digital circuitry or a combination of the two, during a live performance, the effect is plugged into the electrical signal path of the instrument. In the studio, the instrument or other sound-sources auxiliary output is patched into the effect, form factors are part of a studio or musicians outboard gear. Stompboxes are small plastic or metal chassis which usually lie on the floor or in a pedalboard to be operated by the users feet, pedals are often rectangle-shaped, but there are a range of other shapes. Typical simple stompboxes have a single footswitch, one to three potentiometers for controlling the effect, and a single LED that indicates if the effect is on, depending on the type of pedal, the potentiometers may control different parameters of the effect. For a chorus effect, for example, the knobs may control the depth, some pedals have two knobs stacked on top of each other, enabling the unit to provide two knobs per single knob space. An effects chain or signal chain is formed by connecting two or more stompboxes, effect chains are typically created between the guitar and the amp or between the preamplifier and the power amp

32.
Talk box
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Typically, a talk box directs sound from the instrument into the musicians mouth by means of a plastic tube adjacent to their vocal microphone. The musician controls the modification of the sound by changing the shape of the mouth. The speaker is generally in the form of a compression driver, the box has connectors for the connection to the speaker output of an instrument amplifier and a connection to a normal instrument speaker. A foot-operated switch on the box directs the sound either to the talk box speaker or to the normal speaker, the switch is usually a push-on/push-off type. The other end of the tube is taped to the side of a microphone, when activated, the sound from the amplifier is reproduced by the speaker in the talk box and directed through the tube into the performers mouth. The shape of the filters the sound, with the modified sound being picked up by the microphone. The shape of the changes the harmonic content of the sound in the same way it affects the harmonic content generated by the vocal folds when speaking. The performer can vary the shape of the mouth and position of the tongue, the performer can mouth words, with the resulting effect sounding as though the instrument is speaking. This shaped sound exits the performers mouth, and when it enters a microphone, the sound can be that of any musical instrument, but the effect is most commonly associated with the guitar. The rich harmonics of a guitar are shaped by the mouth, producing a sound very similar to voice. The effect produced by talk boxes and vocoders are often conflated by listeners, however, they have radically different mechanisms for achieving the effect. Talk boxes send the signal into the singers mouth, where it is then modulated by the singer themselves. On the other hand, vocoders process both the carrier and the modulator signal integrally, producing the output as an electric signal. In 1939, Alvino Rey, amateur radio operator W6UK, used a carbon throat microphone wired in such a way as to modulate his electric guitar sound. The mic, originally developed for military communications, was placed on the throat of Reys wife Luise King. The novel-sounding combination was called Singing Guitar, and employed on stage and in the movie Jam Session, as a novelty attraction, Rey also created a somewhat similar talking effect by manipulating the tone controls of his Fender electric guitar, but the vocal effect was less pronounced. Another early voice effect using the principle of the throat as a filter was the Sonovox. Instead of a throat microphone modulating a signal, it used small transducers attached to the performers throat to pick up voice sounds

33.
Wah-wah pedal
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The pedal sweeps the peak response of a frequency filter up and down in frequency to create the sound, a spectral glide, also known as the wah effect. The wah-wah effect originated in the 1920s, with trumpet or trombone players finding they could produce an expressive crying tone by moving a mute in and this was later simulated with electronic circuitry for the electric guitar when the wah-wah pedal was invented. It is controlled by movement of the foot on a rocking pedal connected to a potentiometer. Wah-wah effects are used when a guitarist is soloing, or creating a wacka-wacka funk-styled rhythm for rhythm guitar playing, an envelope filter or envelope follower is often referred to as an auto-wah. The first wah pedal was created by Bradley J. Plunkett at Warwick Electronics Inc. /Thomas Organ Company in November 1966 and this pedal is the original prototype made from a transistorized MRB potentiometer bread-boarded circuit and the housing of a Vox Continental Organ volume pedal. The concept, however, was not new, country guitar virtuoso Chet Atkins had used a similar, self-designed device on his late 1950s recordings of Hot Toddy and Slinkey. A DeArmond Tone and Volume pedal was used in the early 1960s by Big Jim Sullivan, notably in some Krew Cats instrumental tracks, the creation of the modern wah pedal was actually an accident which stemmed from the redesign of the Vox Super Beatle guitar amplifier in 1966. In addition to distributing the British-made Vox amplifiers, the Thomas Organ Company also designed and manufactured much of the Vox equipment sold in the US, the US-made Vox product line development was headed by musician and bandleader Bill Page. Plunkett had lifted and bread-boarded a transistorized tone-circuit from the Thomas Organ to duplicate the Jennings 3-position circuit, after adjusting and testing the amplifier with an electronic oscillator and oscilloscope, Plunkett connected the output to the speaker and tested the circuit audibly. At that point, several engineers and technical consultants, including Bill Page and Del Casher, Page insisted on testing this bread-boarded circuit while he played his saxophone through an amplifier. After the installation, Page began playing his saxophone through the pedal and had asked Joe Banaron, CEO of Warwick Electronics Inc. /Thomas Organ Company, to listen to the effect. Banaron, being a fan of the big band style of music, was interested in marketing the wah pedal for wind instruments as suggested by Page rather than for the guitar as suggested by Casher. After the initial invention of the wah pedal, the pedal was then modified by Casher. The un-modified version of the Vox wah pedal was released to the public in February 1967 with an image of Clyde McCoy on the bottom of the pedal. Warwick Electronics Inc. assigned Lester L. Kushner, an engineer with the Thomas Organ Company, the patent application was submitted on February 24,1967 which included technical diagrams of the pedal being connected to a four-stringed guitar. Warwick Electronics Inc. was granted US patent 3530224 on September 22,1970, early versions of the Clyde McCoy featured an image of McCoy on the bottom panel, which soon gave way to only his signature. Thomas Organ then wanted the effect branded as their own for the American market, Jen, who had been responsible for the manufacture of Thomas Organ and Vox wah pedals, also made rebranded pedals for companies such as Fender and Gretsch and under their own Jen brand. When Thomas Organ moved production completely to Sepulveda, California and Chicago, some of the most famous electric guitarists of the day were keen to adopt the wah-wah pedal soon after its release

34.
Microphone
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A microphone, colloquially nicknamed mic or mike, is a transducer that converts sound into an electrical signal. Several different types of microphone are in use, which employ different methods to convert the air pressure variations of a wave to an electrical signal. Microphones typically need to be connected to a preamplifier before the signal can be recorded or reproduced, in order to speak to larger groups of people, a need arose to increase the volume of the human voice. The earliest devices used to achieve this were acoustic megaphones, some of the first examples, from fifth century BC Greece, were theater masks with horn-shaped mouth openings that acoustically amplified the voice of actors in amphitheatres. In 1665, the English physicist Robert Hooke was the first to experiment with an other than air with the invention of the lovers telephone made of stretched wire with a cup attached at each end. German inventor Johann Philipp Reis designed an early sound transmitter that used a strip attached to a vibrating membrane that would produce intermittent current. Better results were achieved with the transmitter design in Scottish-American Alexander Graham Bells telephone of 1876 – the diaphragm was attached to a conductive rod in an acid solution. These systems, however, gave a poor sound quality. The first microphone that enabled proper voice telephony was the carbon microphone and this was independently developed by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, the carbon microphone is the direct prototype of todays microphones and was critical in the development of telephony, broadcasting and the recording industries. Thomas Edison refined the carbon microphone into his carbon-button transmitter of 1886 and this microphone was employed at the first ever radio broadcast, a performance at the New York Metropolitan Opera House in 1910. In 1916, E. C. Wente of Western Electric developed the next breakthrough with the first condenser microphone, in 1923, the first practical moving coil microphone was built. The Marconi Skykes or magnetophon, developed by Captain H. J. Round, was the standard for BBC studios in London and this was improved in 1930 by Alan Blumlein and Herbert Holman who released the HB1A and was the best standard of the day. Also in 1923, the microphone was introduced, another electromagnetic type, believed to have been developed by Harry F. Olson. Over the years these microphones were developed by companies, most notably RCA that made large advancements in pattern control. With television and film technology booming there was demand for high fidelity microphones, electro-Voice responded with their Academy Award-winning shotgun microphone in 1963. During the second half of 20th century development advanced quickly with the Shure Brothers bringing out the SM58, digital was pioneered by Milab in 1999 with the DM-1001. The latest research developments include the use of optics, lasers and interferometers

35.
Sound recording and reproduction
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Sound recording and reproduction is an electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording, prior to the development of analog recording, there were mechanical systems for reproducing instrumental music, such as wind-up music boxes and later, in the late 19th century, player pianos. Analog sound reproduction is the process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Digital recording and reproduction converts the sound signal picked up by the microphone to a digital form by the process of digitization. This lets the audio data be stored and transmitted by a variety of media. Whereas successive copies of an analog recording tend to degrade in quality, as noise is added. A digital audio signal must be reconverted to analog form during playback before it is amplified and connected to a loudspeaker to produce sound, long before sound was first recorded on cylinders or records, music was recorded—first by written music notation, then also by mechanical devices. Fowler, this. cylinder with raised pins on the surface remained the device to produce and reproduce music mechanically until the second half of the nineteenth century. The Banu Musa brothers also invented an automatic flute player, which appears to have been the first programmable machine, according to Fowler, the automata were a robot band that performed. more than fifty facial and body actions during each musical selection. In the 14th century, Flanders introduced a mechanical bell-ringer controlled by a rotating cylinder, similar designs appeared in barrel organs, musical clocks, barrel pianos, and musical boxes. A music box is a musical instrument that produces sounds by the use of a set of pins placed on a revolving cylinder or disc so as to pluck the tuned teeth of a steel comb. They were developed from musical snuff boxes of the 18th century, some of the more complex boxes also have a tiny drum and/or bells, in addition to the metal comb. The fairground organ, developed in 1892, used a system of accordion-folded punched cardboard books, the player piano, first demonstrated in 1876, used a punched paper scroll that could store an long piece of music. The most sophisticated of the rolls were hand-played, meaning that the roll represented the actual performance of an individual. This technology to record a live performance onto a piano roll was not developed until 1904, piano rolls were in continuous mass production from 1896 to 2008. A1908 U. S. Supreme Court copyright case noted that, in 1902 alone, the use of piano rolls began to decline in the 1920s although one type is still being made today. The first device that could record actual sounds as they passed through the air was the phonautograph, the earliest known recordings of the human voice are phonautograph recordings, called phonautograms, made in 1857. They consist of sheets of paper with sound-wave-modulated white lines created by a stylus that cut through a coating of soot as the paper was passed under it

36.
Tape loop
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In music, tape loops are loops of magnetic tape used to create repetitive, rhythmic musical patterns or dense layers of sound when played on a tape recorder. Popular music authors of 1960s and 1970s, particularly in psychedelic, progressive and ambient genres, in the 1980s, analog audio and tape loops with it gave way to digital audio and application of computers to generate and process sound. Stockhausen also used the technique for live performance in Solo, the length of the loop controls the length of the repeated sound, and combines with the desired content of the composer to create a single tape loop. On a standard reel-to-reel, one loop is, at most, some composers were satisfied with this approach, but there were other methods to allow for longer loops. By using this or other methods, some composers could create very long loops which allowed for lengthier fragments of sound. When recording his landmark 1978 ambient album Music for Airports, Brian Eno reported that for a song, One of the tape loops was seventy-nine feet long. The longest tape loop ever created was made by Barry Anderson for performances of Stockhausens Solo, in the late 1940s, Pierre Schaeffer used special phonograph discs with a sillon fermé to repeat segments of sounds in his musique concrète studio in Paris. Several different configurations of tape loops were employed in the years of the WDR Studio in Cologne. One such arrangement was used to build up multilayered textures by sequentially recording sounds with the erase head disconnected or with an arrangement of the heads. Gottfried Michael Koenig applied this method in 1954, in his Klangfiguren I, in Canada, Hugh Le Caine produced a particularly clear and memorable example of musique concrète in 1955 titled Dripsody. It was built from the sound of a drop of water, using a variable-speed tape recorder, tape loops. Pioneer of minimalism Terry Riley began employing tape loops at the end of the 1950s, with assistance of Richard Maxfield and Ramon Sender, Riley combined tape loops with echoplex devices, producing an acid trip piece Mescalin Mix, made from sound samples from his earlier works. Steve Reich also used tape loops to compose, using a technique which he called phasing and he would put two tape loops together at slightly different speeds, so they would start playing simultaneously and then drift apart. Pieces created by this method are Its Gonna Rain and Come Out, in Violin Phase he combined the tape loop with an instrumental score. Later on, Gavin Bryars explored a concept in composition 1,2, 1-2-3-4. In the 1960s and 1970s, use of loops made a breakthrough in popular music. Revolution 9 was a more experimental venture, consisting almost entirely of tape loops fading in. Introduction of new technologies, such as music sequencers and synthesizers in the 1970s, followed by digital sequencers in 1977

37.
Audio time stretching and pitch scaling
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Time stretching is the process of changing the speed or duration of an audio signal without affecting its pitch. Pitch scaling or pitch shifting is the opposite, the process of changing the pitch without affecting the speed, similar methods can change speed, pitch, or both at once, in a time-varying way. These processes are used, for instance, to match the pitches and they are also used to create effects such as increasing the range of an instrument. The simplest way to change the duration or pitch of an audio clip is to resample it. This is an operation that effectively rebuilds a continuous waveform from its samples. When the new samples are played at the sampling frequency. Unfortunately, the frequencies in the sample are always scaled at the rate as the speed. In other words, slowing down the recording lowers the pitch, speeding it up raises the pitch and this is analogous to speeding up or slowing down an analogue recording, like a phonograph record or tape, creating the Chipmunk effect. In order to preserve an audio signals pitch when stretching or compressing its duration, given an original discrete-time audio signal, this strategys first step is to split the signal into short analysis frames of fixed length. The analysis frames are spaced by a number of samples. To achieve the actual time-scale modification, the frames are then temporally relocated to have a synthesis hopsize H s ∈ N. This frame relocation results in a modification of the duration by a stretching factor of α = H s / H a. However, simply superimposing the unmodified analysis frames typically results in undesired artifacts such as phase discontinuities or amplitude fluctuations, to prevent this kind of artifacts, the analysis frames are adapted to form synthesis frames, prior to the reconstruction of the time-scale modified output signal. The strategy of how to derive the synthesis frames from the frames is a key difference among different TSM procedures. One way of stretching the length of a signal without affecting the pitch is to build a phase vocoder after Flanagan, Golden, recent improvements allow better quality results at all compression/expansion ratios but a residual smearing effect still remains. Another method for time stretching relies on a model of the signal. In this method, peaks are identified in frames using the STFT of the signal, the tracks are then re-synthesized at a new time scale. This method can yield results on both polyphonic and percussive material, especially when the signal is separated into sub-bands

38.
Auto-Tune
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Auto-Tune is an audio processor created by Antares Audio Technologies which uses a proprietary device to measure and alter pitch in vocal and instrumental music recording and performances. It was originally intended to disguise or correct off-key inaccuracies, allowing vocal tracks to be perfectly tuned despite originally being slightly off-key, the processor slightly shifts pitches to the nearest true semitone. Auto-Tune can also be used as an effect to distort the voice when pitch is raised or lowered significantly, such that the voice is heard to leap from note to note stepwise. Auto-Tune is available as a plug-in for professional audio multi-tracking suites used in a setting and as a stand-alone. Auto-Tune has become standard equipment in professional recording studios, instruments like the Peavey AT-200 guitar are seamlessly using the Auto Tune technology for real time pitch correction. Auto-Tune was initially created by Andy Hildebrand, an engineer working for Exxon, Hildebrand developed methods for interpreting seismic data and subsequently realized that the technology could be used to detect, analyze, and modify the pitch in audio files. The earliest commercial use of Auto-Tune as an effect in a popular song was Roy Vedas Fragments Of Life in August 17th 1998 and later on in Chers Believe. The effect is not to be confused with a vocoder or the talk box, devices referenced by producers of these songs when they were new to hide their use of Auto-Tune from music audiences. For example, in an interview, the producers of Believe claimed they had used a DigiTech Talker FX pedal. After the success of Believe the technique known as the Cher Effect. Originally, Auto-Tune was designed to discreetly correct imprecise intonations, and this technique soon became a widespread technique used in live performances and in pop recordings throughout the first ten years of the 21st century. According to Chris Lee of the Los Angeles Times, Believe is widely credited with injecting Auto-Tunes mechanical modulations into pop consciousness, in the year 2000, the single Naive Song performed by Mirwais Ahmadzai from his album Production is the first ever track using Auto-Tune on the complete vocals. The use of Auto-Tune as an effect was bolstered in the late 2000s by hip hop/R&B recording artist T-Pain who elaborated on the effect. He cites new jack swing producer Teddy Riley and funk artist Roger Troutmans use of the Talk Box as inspirations for his own use of Auto-Tune, T-Pain became so associated with Auto-Tune that he has an iPhone App named after him that simulates the effect, called I Am T-Pain. Auto-Tune has since used in other hip hop/R&B artists works, including Snoop Doggs single Sexual Eruption, Lil Waynes Lollipop. The effect has become popular in raï music and other genres from Northern Africa. According to the Boston Herald, country stars Faith Hill, Shania Twain, however, other country music singers, such as Allison Moorer, Trisha Yearwood, Vince Gill, Garth Brooks and Martina McBride, have refused to use Auto-Tune. At the 51st Grammy Awards in early 2009, the band Death Cab for Cutie made an appearance wearing blue ribbons to protest the use of Auto-Tune in the music industry

39.
Chorus effect
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In music, a chorus effect occurs when individual sounds with approximately the same timbre, and very similar pitch converge and are perceived as one. When the effect is produced successfully, none of the constituent sounds are perceived as being out of tune and it is characteristic of sounds with a rich, shimmering quality that would be absent if the sound came from a single source. The shimmer occurs because of beating, the effect is more apparent when listening to sounds that sustain for longer periods of time. The chorus effect is especially easy to hear when listening to a choir or string ensemble, a choir has multiple people singing each part. A string ensemble has multiple violinists and possibly multiples of other stringed instruments, in spite of the name, most electronic chorus effects do not accurately emulate this acoustic ensemble effect. Instead, they create a moving electronic shimmer. Some instruments produce an effect as part of their design, however. Piano - Each hammer strikes multiple strings tuned to nearly the same pitch, professional piano tuners carefully control the mistuning of each string to add movement without losing clarity. 12 string guitar - Six pairs of strings tuned in octaves, synthesizer - The effect can be achieved by using multiple, slightly detuned oscillators for each note, or by passing all the notes played through a separate electronic chorus circuit. Mandolin -4 pairs of identically tuned strings, as opposed to octaves, accordion - two or three reed blocks tuned to nearly the same pitch produce a unique and distinctive sound exclusive to the accordion. The chorus effect can be simulated by signal processing equipment, the signal processor may be software running on a computer, software running in a digital effect processor, or an analog effect processor. If the processor is hardware-based, it may be packaged as a pedal, a rack-mount module, some keyboard instruments have an electronic chorus effect built in, such as some electronic pianos and some Hammond organs. Regardless of the technology or form factor, the processor achieves the effect by taking an audio signal, the pitch of the added voices is typically modulated by an LFO, which makes the overall effect similar to that of a flanger, except with longer delays and without feedback. Stereo chorus effect processors produce the effect, but it is varied between the left and right channels by offsetting the delay or phase of the LFO. The effect is enhanced because sounds are produced from multiple locations in the stereo field. Used on instruments like clean electric guitar and keyboards, it can yield very dreamy or ambient sounds, examples of the use of obviously chorused guitar tracks include Fripp & Enos Evensong, Nirvanas Come As You Are, Mike Sterns Swunk, and Satellite Partys Mr. Sunshine. The voix céleste is an organ consisting of either one or two ranks of pipes slightly out of tune. The term celeste refers to a rank of pipes detuned slightly so as to produce an effect when combined with a normally tuned rank

40.
Dynamic range compression
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Compression is commonly used in sound recording and reproduction, broadcasting, live sound reinforcement and in some instrument amplifiers. A dedicated electronic hardware unit or audio software that applies compression is called a compressor, in the 2000s, compressors became available as software plugins that run in digital audio workstation software. In recorded and live music, compression parameters may be adjusted to change the way they affect sounds, compression and limiting are identical in process but different in degree and perceived effect. A limiter is a compressor with a ratio and, generally. Downward compression reduces loud sounds over a certain threshold while quiet sounds remain unaffected, upward compression increases the loudness of sounds below a certain threshold while leaving louder sounds unaffected. Both downward and upward compression reduce the range of an audio signal. An expander performs the function, increasing the dynamic range of the audio signal. Expanders are generally used to make quiet sounds even quieter by reducing the level of a signal that falls below a set threshold level. A noise gate is a type of expander and this design, known as a feed-forward type, is used today in most compressors. Earlier designs were based on a layout where the signal level was measured after the amplifier. There are a number of used for variable-gain amplification, each having different advantages and disadvantages. Vacuum tubes are used in a configuration called variable-mu where the voltage changes to alter the gain. Optical compressors use a photoresistor and a lamp to create changes in signal gain. This technique is believed by some to sound smoother because the times of the light. Other technologies used include field effect transistors and a diode bridge, when working with digital audio, digital signal processing techniques are commonly used to implement compression via digital audio editors, or dedicated workstations. Often the algorithms used emulate the above analog technologies, a compressor reduces the level of an audio signal if its amplitude exceeds a certain threshold. It is commonly set in decibels dB, where a lower threshold means a portion of the signal is treated. The amount of reduction is determined by ratio, a ratio of 4,1 means that if input level is 4 dB over the threshold

41.
Delay (audio effect)
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Delay is an audio effect and an effects unit which records an input signal to an audio storage medium, and then plays it back after a period of time. The delayed signal may either be played multiple times, or played back into the recording again. Delay effects range from an echo effect to a pronounced blending of previous sounds with new sounds. The first delay effects were achieved using tape loops improvised on reel-to-reel magnetic recording systems, by shortening or lengthening the loop of tape and adjusting the read and write heads, the nature of the delayed echo could be controlled. Audio engineers working in music quickly adapted similar techniques, to augment their use of plate reverb. In the late 1940s and early 1950s, several sound engineers began making devices for use in recording studios, guitarist and instrument designer Les Paul was an early pioneer in delay devices. A landmark device was the EchoSonic made by American Ray Butts and it is a portable guitar amplifier with a built-in tape echo, which became used widely in country music and especially in rock and roll. Tape echoes became commercially available in the 1950s, an echo machine is the early name for a sound processing device used with electronic instruments to repeat the sound and produce a simulated echo. The device was popular with guitarists and was used by Brian May, Jimmy Page, One example is the Echoplex which used a tape loop. The length of delay was adjusted by changing the distance between the record and playback heads. Another example is the Roland Space Echo with a record and multiple tape heads. The time between echo repeats was adjusted by varying the tape speed, the length or intensity of the echo effect was adjusted by changing the amount of echo signal was fed back into the pre-echo signal. Different effects could be created by combining the different playback heads, some models also included a spring reverb. Before the invention of audio technology, music employing a delayed echo had to be recorded in a naturally reverberant space, often an inconvenience for musicians. The presence of multiple taps made it possible to have delays at varying rhythmic intervals, many delay processors based on analog tape recording, such as Ray Butts EchoSonic, Mike Battles Echoplex, or the Roland Space Echo, used magnetic tape as their recording and playback medium. Electric motors guided a tape loop through a device with a variety of mechanisms allowing modification of the effects parameters, in the Space Echo, all of the heads are fixed, but the speed of the tape could be adjusted, changing the delay time. Thin magnetic tape was not entirely suited for operation, however. Several designs were made, the 1959 Ecco-Fonic had a spinning head, many were temperamental, such as the Vox Echomatic

Equalization or equalisation is the process of adjusting the balance between frequency components within an electronic …

A stereo graphic equalizer. For the left and right bands of the sound content, there are a series of vertical faders, which can be used to boost or cut specific frequency ranges. This equalizer is set to the widely used "happy face" setting, in which the mid-range sound frequencies are cut.